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Thelonious Monk • Underground

 

Monk siempre fue un músico extremadamente vanguardista, en su música, en su concepto de la melodía, e incluso en su forma de vida. La portada de este álbum —premiada por un Grammy— nos orienta sobre la música que contiene. Una llamada a la juventud neoyorquina para que busquen en el jazz, la forma de dar cauce a esa subcultura urbana que empobrece la vida de muchos jóvenes. La portada del álbum muestra a Monk como un revolucionario francés de la Segunda Guerra Mundial que porta un arma automática contra los nazis, y a uno de ellos, un oficial de las SS, lo representa atado en una silla.

“Underground”, fue el penúltimo álbum de estudio de Monk, así como su último trabajo con su célebre cuarteto — Charlie Rouse (saxo tenor), Ben Riley (batería) y Larry Gales (bajo)—, de los años sesenta. La notoriedad aquí, de la presencia de Charlie Rouse a lo largo del álbum es ciertamente digna de mención. Existía una relación especial entre el saxofonista y el pianista; ambos se entendían en el escenario a las mil maravillas. Underground», es un álbum clave en la discografía de Monk.
https://apoloybaco.com/jazz/thelonious-monk-underground/

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Underground is one of Thelonious Monk’s most distinctive late-career recordings, released in 1968 and widely recognized for its iconic cover art as well as its adventurous, hard-bop-rooted music. The album features Monk’s long-standing quartet with Charlie Rouse, Larry Gales, and Ben Riley—an ensemble renowned for its deep rapport and rhythmic precision.

The program highlights Monk’s unmistakable compositional voice with pieces like “Thelonious,” “Ugly Beauty,” and “Green Chimneys,” while the spirited rendition of “In Walked Bud,” featuring Jon Hendricks on vocals, adds a vibrant twist. Remastered from the original tapes and pressed on 180g vinyl, this edition captures the clarity and momentum of one of Monk’s essential late works.
https://www.jazzmessengers.com/es/83749/thelonious-monk/underground


 

Amendola vs. Blades • Greatest Hits

 

Hardly the adversarial enterprise its billing implies, Greatest Hits is not keyboardist Wil Blades' first duo with a master percussionist: he recorded Shimmy (Amulet, 2012) with Billy Martin (of Medeski Martin & Wood fame) in 2012. And any music lover who relished Martin's somewhat more abstract collaboration with keyboardist Medeski, Mago (Amulet, 2007) will be nevertheless satisfied with the largely earthy, accessible results of this project: this wryly-titled collaboration with drummer Scott Amendola is a comparable companion piece, even though it was recorded live (over two nights) rather than in the studio.

These latest fruits of a longstanding relationship are immediately accessible on "Lima Bean," the rapid unfurling of Hammond B3 organ lines intertwining with a quick succession of snappy beats. The chemistry between Amendola and Blades have nurtured is no illusion: each anticipates the other's movements with uncanny precision and clearly both love to dig into a groove, but, as they demonstrate on "Addis," it's not just a matter of repetition, but progressively intricate interaction. If the lack of shared composition of original material seems superficially odd, particularly given the performance context of this album, there's no denying the complementary nature of "32nd Street" and "Slow Zig."

Scott Amendola and Wil Blades are, in fact, too savvy to ignore the dynamics of their partnership. Thus, "Deep Eyes" slows things down, relatively speaking, allowing the instruments to percolate in their own respective ways. "Mae Mae" maintains the progression of these seven tracks, albeit at a more brisk pace, the first real indication of the growing momentum within this album sequencing; reminiscent of the opening numbers, the aforementioned cut, one of the three composed by Blades, doesn't so much mark time as allow the duo to shift gears before accelerating further.

The author's clavinet has become his primary instrument at this point, a necessary and logical instrumental shift sufficient move to alleviate any predictability. It also keeps up the indiscernibly increasing pace the pair have generated so that, as they dig in to the nearly inextricably intertwined melodic and rhythm patterns of the closing "Oladipo," this near-nine minute track acts as combination summary and punctuation for the album.
By DOUG COLLETTE
November 18, 2016
https://www.allaboutjazz.com/greatest-hits-scott-amendola-vs-wil-blades-sazi-records-review-by-doug-collette.php

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Greatest Hits no es el primer dúo del teclista Wil Blades con un maestro de la percusión: en 2012 grabó Shimmy (Amulet, 2012) con Billy Martin (de Medeski Martin & Wood). Y cualquier amante de la música que haya disfrutado de la colaboración algo más abstracta de Martin con el teclista Medeski, Mago (Amulet, 2007), estará sin embargo satisfecho con los resultados en gran medida terrenales y accesibles de este proyecto: esta colaboración con el baterista Scott Amendola, de título irónico, es una pieza de acompañamiento comparable, aunque se haya grabado en vivo (durante dos noches) en lugar de en el estudio.

Estos últimos frutos de una larga relación son inmediatamente accesibles en "Lima Bean", el rápido despliegue de líneas de órgano Hammond B3 que se entrelazan con una rápida sucesión de ritmos ágiles. La química que Amendola y Blades han cultivado no es una ilusión: cada uno anticipa los movimientos del otro con una precisión asombrosa y está claro que a ambos les encanta profundizar en un ritmo, pero, como demuestran en "Addis", no se trata sólo de una cuestión de repetición, sino de una interacción progresivamente intrincada. Si la falta de composición compartida de material original parece superficialmente extraña, particularmente dado el contexto de actuación de este álbum, no se puede negar la naturaleza complementaria de "32nd Street" y "Slow Zig".

Scott Amendola y Wil Blades son, de hecho, demasiado inteligentes para ignorar la dinámica de su asociación. Así, "Deep Eyes" ralentiza las cosas, relativamente hablando, permitiendo que los instrumentos se filtren a su manera. "Mae Mae" mantiene la progresión de estos siete temas, aunque a un ritmo más rápido, el primer indicio real del creciente impulso dentro de la secuencia de este álbum; recordando a los números de apertura, el mencionado corte, uno de los tres compuestos por Blades, no marca tanto el tiempo como permite al dúo cambiar de marcha antes de acelerar más.

El clavinet del autor se ha convertido en su instrumento principal en este punto, un cambio instrumental necesario y lógico, suficiente para aliviar cualquier previsibilidad. También mantiene el ritmo indiscerniblemente creciente que el dúo ha generado, de modo que, cuando se adentran en los patrones melódicos y rítmicos casi inextricablemente entrelazados del final de "Oladipo", este tema de casi nueve minutos actúa como una combinación de resumen y puntuación para el álbum.
Por DOUG COLLETTE
18 de noviembre de 2016
https://www.allaboutjazz.com/greatest-hits-scott-amendola-vs-wil-blades-sazi-records-review-by-doug-collette.php


avsbmusic.com ...
www.amazon.com ...

Esquivel • Merry Xmas From The Space-Age Bachelor Pad

 

B3 Kings • Laughing All The Way

 

 

Colaborador / Contributor:  Ketmokin

 

B.B. King • Lucille & Friends

 

Don Baker And The Trio • Cocktail Hammond

Canadian-born American organist (born February 26, 1903 in St. Thomas, Ontario, Canada – died June 6, 1989, Leesburg, Florida, USA).

Born in St. Thomas, Ontario, Canada in 1903, Baker studied piano at the Mount Royal Conservatory in Calgary. In 1925, he was hired as a demonstrator and a teacher at the Wurlitzer Music store in New York City. His first theater job was at the Brooklyn Paramount playing noon and dinner-hour concerts for the moviegoers. An opportunity to perform in England resulted in weekly broadcasts over the BBC and performances at five of the Bernstein Theatres. After 18 months in England, Baker returned to the United States and was hired as staff organist at radio station WOR in New York City. He then moved to the Paramount Theater and played on bills featuring top big bands headed by Glenn Miller, Tommy Dorsey, Benny Goodman and others. After New York City, Baker went on to the Hollywood Palladium where Freddie Martin, Harry James and other Big Bands were featured attractions. In 1949 he moved to Las Vegas and performed at the Last Frontier. In the late 1950s, he became a touring artist for Conn Organs. He returned to New York in 1964 to play the final concert at the Paramount Theater. He resided in Nevada until 1974, performing in Reno and Lake Tahoe. Then he moved to Clearwater, Florida, where he spent his final years. He died on June 26, 1989 in Leesburg, Florida.

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Organista estadounidense nacido en Canadá (nacido el 26 de febrero de 1903 en St. Thomas, Ontario, Canadá - fallecido el 6 de junio de 1989 en Leesburg, Florida, EE.UU.).

Thomas, Ontario, Canadá en 1903, Baker estudió piano en el Mount Royal Conservatory de Calgary. En 1925, fue contratado como demostrador y profesor en la tienda de Wurlitzer Music en la ciudad de Nueva York. Su primer trabajo en el teatro fue en la Brooklyn Paramount tocando conciertos al mediodía y a la hora de la cena para los cinéfilos. La oportunidad de actuar en Inglaterra dio lugar a emisiones semanales por la BBC y actuaciones en cinco de los teatros Bernstein. Después de 18 meses en Inglaterra, Baker regresó a los Estados Unidos y fue contratado como organista de la estación de radio WOR en la ciudad de Nueva York. Luego se trasladó al Paramount Theater y tocó en programas con grandes bandas encabezadas por Glenn Miller, Tommy Dorsey, Benny Goodman y otros. Después de la ciudad de Nueva York, Baker fue al Hollywood Palladium donde Freddie Martin, Harry James y otras grandes bandas fueron atracciones destacadas. En 1949 se mudó a Las Vegas y actuó en la Última Frontera. A finales de los años 50, se convirtió en un artista de gira para Conn Organs. Regresó a Nueva York en 1964 para dar el último concierto en el Paramount Theater. Residió en Nevada hasta 1974, actuando en Reno y Lake Tahoe. Luego se mudó a Clearwater, Florida, donde pasó sus últimos años. Murió el 26 de junio de 1989 en Leesburg, Florida.

Johnny Coles Quartet • The Warm Sound

 

Review by Scott Yanow
Trumpeter Johnny Coles, best-known for his association with Charles Mingus in 1964, made his recording debut as a leader on this Epic session which was reissued on CD in 1995 by Koch. A bop-based trumpeter with a lyrical sound of his own, Coles is showcased here with an excellent quartet (Kenny Drew or Randy Weston on piano, bassist Peck Morrison and drummer Charlie Persip). He is in top form on a pair of standards (including "If I Should Lose You"), his own blues "Room 3" and four Weston originals; the reissue adds an alternate take of "Hi-Fly" to the original program. A fine outing. 
https://www.allmusic.com/album/the-warm-sound-mw0000645780

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Reseña de Scott Yanow
El trompetista Johnny Coles, conocido sobre todo por su colaboración con Charles Mingus en 1964, debutó como líder en esta sesión de Epic, reeditada en CD en 1995 por Koch. Coles, un trompetista de estilo bop con un sonido lírico propio, se luce aquí con un excelente cuarteto (Kenny Drew o Randy Weston al piano, el bajista Peck Morrison y el baterista Charlie Persip). Está en plena forma en un par de estándares (entre ellos «If I Should Lose You»), su propio blues «Room 3» y cuatro temas originales de Weston; la reedición añade una toma alternativa de «Hi-Fly» al programa original. Una excelente actuación. 
https://www.allmusic.com/album/the-warm-sound-mw0000645780


 

Frank Strozier • The Fantastic Frank Strozier

 

Kenny Burrell • Lucky So And So

 

Genesis • A Trick Of The Tail

 

Dan Balmer-Gary Versace-Matt Wilson • Thanksgiving

 

instagram.com/garyversace ...

Colaborador / Contributor:  Ketmokin

Jeff Barone • Crazy Talk

 

An impressive guitarist, Jeff Barone has developed a strong reputation with his recordings (Crazy Talk and Open Up), live performances, and record producing. His playing invigorates the modern mainstream of jazz, swinging hard while looking forward.

He was born in Syracuse, New York and remembers, “Early on I heard a Joe Pass recording, Virtuoso. I had a cousin who owned a music store and, when I was eight, my parents gave me a guitar for Christmas. That is how it all started.” Exposed to jazz by an uncle who was a bassist and a cousin who played jazz piano, he developed quickly. At 16, Jeff was working in local jazz clubs and being hired to play with touring shows that visited Syracuse. He also performed with the Syracuse Symphony Orchestra and worked with singer Al Martino under the direction of Tony Riposo. “By the time I was in high school, my life revolved around guitar and music, so it was a natural transition for me to become a professional musician.” Jeff considers his influences to not only be Joe Pass but jazz guitarists Pat Martino, Jim Hall, Jack Wilkins, George Benson and Johnny Smith, classical guitarists Julian Bream and Segovia, and pianists Bill Evans and Oscar Peterson. He retains aspects of each of their styles along with his own musical personality to form a distinctive sound of his own.

At Ithaca College where he earned a Bachelors in Music Education, Jeff studied classical guitar with a minor in classical percussion. He focused on the guitar at the Manhattan School Of Music where he received a Masters degree in Jazz Performance. During that period he also worked in small clubs in the Village including with singer Evelyn Blakey (Art Blakey’s daughter), Hershel Dwellingham’s group (Weather Report and Stuff) and trumpeter Charles McGee (who had played with Archie Shepp and Rahsaan Roland Kirk). As his school days ended, he became part of the Harlem organ scene. Jeff worked with Jimmy “Preacher” Robins, Mel Davis, and a stint with Reuben Wilson. “It was a great experience playing with Reuben Wilson because he covered the full range of jazz. In Harlem clubs, we played straight-ahead jazz and standards. When we were outside of Harlem, we played more funk and acid jazz which was what he was known for. The guitar and the organ were made for each other. When the organist plays a left-handed bass, it leaves room for the guitar as opposed to the guitar and the piano where both instruments have to work hard not to step on each other’s toes.”

Guitarist Jack Wilkins has been an important force in Jeff Barone’s career. They have performed together in a variety of settings and Jack has recommended the younger guitarist for several important gigs including a concert with the Vanguard Orchestra, and an opportunity to sub with the Mingus Epitaph Orchestra under the direction of Gunther Schuller. “Jack was also instrumental in my record Crazy Talk happening in 2000. He gave me the push to finally make a recording.”

Crazy Talk, which was co-produced by the two guitarists (Wilkins makes two appearances) and released by the String Jazz label(based in England), features Jeff in a quartet with pianist Ron Oswanski, bassist Chris Berger and drummer Joe Strasser. Drummer Mike Clark (famed for being with Herbie Hancock’s Headhunters) guests on the title track. The mixture of standards and three of Jeff’s originals (“Resa’s Blues,” “To Care For” and “Crazy Talk”) is quite infectious with the leader excelling on both medium-tempo tunes and ballads. It is an impressive debut.

Jeff’s second CD as a leader, Open Up, was a major step forward. “I learned a lot from my first record, so the second one is better in its performances, arrangements, originals, and the overall production.” Jeff is joined on most of the selections by Ron Oswanski (who this time is heard on organ) and drummer Rudy Petschauer. There are also some welcome appearances by trumpeter Joe Magnarelli and altoist Mike Dubaniewicz. Two memorable selections (“Jenna’s Song” and “Quiet Now”) are duets with Jack Wilkins while Jeff takes “My Funny Valentine” as an unaccompanied solo. The CD, which is available from Jazzed Media, introduces four of Jeff’s originals and also includes fresh versions of such songs as “Falling In Love With Love,” “I Hear Music” and Denny Zeitlin’s “Quiet Now.” The music is modern jazz but also accessible, original and challenging but with a blues element and quite soulful.

Jeff Barone has worked with trumpeter Tom Harrell’s Quintet in addition to groups led by Warren Chiasson, Joe Magnarelli, Bobby Caldwell's Big Band and Eddie Montiero. He has worked at Carnegie Hall, Merkin Hall, and at jazz festivals including the JVC Jazz Festival. He has also been active as a record producer, working on such recordings as altoist Mike Dubaniewicz’s Drive Time(Jazzed Media), guitarist Jim Silberstein’s Express Lane(Consolidated Artists), and Jack Wilkins’ recording Until It’s Time released on the Max Jazz label.

For over ten years Jeff has had the guitar chair for the Big Apple Circus in NYC. In addition he has been an active session guitarist as well as working on Broadway shows such as CATS, Wicked, Seussical, James Joyce’s The Dead(featuring Christopher Walken and Blair Brown) and Dear Evan Hansen. Lately he can be heard on stage or recording with actress/vocalists such as Kathleen Turner, Linda Lavin, Joely Fischer and Lucie Arnaz. Jeff is also featured in Scott Yanow’s book entitled “The Great Jazz Guitarists: the Ultimate Guide (Hal Leonard Publishing 2013).”

“I have been fortunate to be able to make my living playing guitar. For the future I want to keep progressing, recording and collaborating with other artists, always moving forward.” Based on his career thus far, there is no doubt that Jeff Barone will achieve his goals and continue a major contribution to jazz of the 21st century.
http://jeffbarone.com/about.html

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Jeff Barone, un guitarrista impresionante, se ha labrado una sólida reputación con sus grabaciones (Crazy Talk y Open Up), actuaciones en directo y producción discográfica. Su forma de tocar vigoriza la corriente principal moderna del jazz, haciendo swing con fuerza y mirando al futuro.

Nació en Syracuse, Nueva York, y recuerda: "Al principio escuché una grabación de Joe Pass, Virtuoso. Tenía un primo que tenía una tienda de música y, cuando tenía ocho años, mis padres me regalaron una guitarra por Navidad. Así empezó todo". Expuesto al jazz por un tío que era bajista y un primo que tocaba el piano de jazz, se desarrolló rápidamente. A los 16 años, Jeff ya trabajaba en clubes de jazz locales y le contrataban para tocar en giras que visitaban Siracusa. También actuó con la Orquesta Sinfónica de Siracusa y trabajó con el cantante Al Martino bajo la dirección de Tony Riposo. "Cuando estaba en el instituto, mi vida giraba en torno a la guitarra y la música, así que para mí fue una transición natural convertirme en músico profesional". Jeff considera que sus influencias no son sólo Joe Pass, sino los guitarristas de jazz Pat Martino, Jim Hall, Jack Wilkins, George Benson y Johnny Smith, los guitarristas clásicos Julian Bream y Segovia, y los pianistas Bill Evans y Oscar Peterson. Conserva aspectos de cada uno de sus estilos junto con su propia personalidad musical para formar un sonido propio y distintivo.

En el Ithaca College, donde se licenció en Educación Musical, Jeff estudió guitarra clásica con especialización en percusión clásica. Se centró en la guitarra en la Manhattan School Of Music, donde obtuvo un máster en Interpretación de Jazz. Durante ese periodo también trabajó en pequeños clubes del Village, por ejemplo con la cantante Evelyn Blakey (hija de Art Blakey), el grupo de Hershel Dwellingham (Weather Report y Stuff) y el trompetista Charles McGee (que había tocado con Archie Shepp y Rahsaan Roland Kirk). Cuando terminó su etapa escolar, pasó a formar parte de la escena organística de Harlem. Jeff trabajó con Jimmy "Preacher" Robins, Mel Davis y una temporada con Reuben Wilson. "Fue una gran experiencia tocar con Reuben Wilson porque cubría toda la gama del jazz. En los clubes de Harlem, tocábamos jazz directo y standards. Cuando estábamos fuera de Harlem, tocábamos más funk y acid jazz, que era por lo que era conocido. La guitarra y el órgano estaban hechos el uno para el otro. Cuando el organista toca el bajo con la mano izquierda, deja espacio para la guitarra, a diferencia de la guitarra y el piano, donde ambos instrumentos tienen que esforzarse para no pisarse".

El guitarrista Jack Wilkins ha sido una fuerza importante en la carrera de Jeff Barone. Han actuado juntos en diversos escenarios y Jack ha recomendado al guitarrista más joven para varios conciertos importantes, incluido un concierto con la Vanguard Orchestra, y una oportunidad para subirse a la Mingus Epitaph Orchestra bajo la dirección de Gunther Schuller. "Jack también fue decisivo para que mi disco Crazy Talk viera la luz en 2000. Me dio el empujón para hacer finalmente una grabación".

Crazy Talk, coproducido por los dos guitarristas (Wilkins hace dos apariciones) y publicado por el sello String Jazz (con sede en Inglaterra), presenta a Jeff en un cuarteto con el pianista Ron Oswanski, el bajista Chris Berger y el batería Joe Strasser. El batería Mike Clark (famoso por formar parte de los Headhunters de Herbie Hancock) participa en el tema principal. La mezcla de estándares y tres originales de Jeff ("Resa's Blues", "To Care For" y "Crazy Talk") es bastante contagiosa y el líder destaca tanto en las melodías de medio tempo como en las baladas. Es un debut impresionante.

El segundo CD de Jeff como líder, Open Up, supuso un gran paso adelante. "Aprendí mucho de mi primer disco, así que el segundo es mejor en sus interpretaciones, arreglos, originales y la producción en general". A Jeff le acompañan en la mayoría de las selecciones Ron Oswanski (que esta vez toca el órgano) y el batería Rudy Petschauer. También son bienvenidas las apariciones del trompetista Joe Magnarelli y el contralto Mike Dubaniewicz. Dos temas memorables ("Jenna's Song" y "Quiet Now") son duetos con Jack Wilkins, mientras que Jeff interpreta "My Funny Valentine" en solitario. El CD, que está disponible en Jazzed Media, presenta cuatro de los originales de Jeff y también incluye nuevas versiones de canciones como "Falling In Love With Love", "I Hear Music" y "Quiet Now" de Denny Zeitlin. La música es jazz moderno pero también accesible, original y desafiante pero con un elemento de blues y bastante conmovedor.

Jeff Barone ha trabajado con el Quinteto del trompetista Tom Harrell, además de con grupos dirigidos por Warren Chiasson, Joe Magnarelli, la Big Band de Bobby Caldwell y Eddie Montiero. Ha trabajado en el Carnegie Hall, el Merkin Hall y en festivales de jazz como el JVC Jazz Festival. También ha trabajado como productor discográfico en grabaciones como Drive Time (Jazzed Media), del contralto Mike Dubaniewicz, Express Lane (Consolidated Artists), del guitarrista Jim Silberstein, y Until It's Time, de Jack Wilkins, publicado por el sello Max Jazz.

Durante más de diez años Jeff ha tenido la silla de guitarra para el Big Apple Circus en NYC. Además, ha trabajado como guitarrista de sesión en espectáculos de Broadway como CATS, Wicked, Seussical, James Joyce's The Dead (con Christopher Walken y Blair Brown) y Dear Evan Hansen. Últimamente se le puede escuchar en el escenario o grabando con actrices/vocalistas como Kathleen Turner, Linda Lavin, Joely Fischer y Lucie Arnaz. Jeff también aparece en el libro de Scott Yanow titulado "The Great Jazz Guitarists: the Ultimate Guide (Hal Leonard Publishing 2013)."

"He tenido la suerte de poder ganarme la vida tocando la guitarra. Para el futuro quiero seguir progresando, grabando y colaborando con otros artistas, siempre avanzando." Basándonos en su carrera hasta ahora, no hay duda de que Jeff Barone logrará sus objetivos y continuará con una importante contribución al jazz del siglo XXI.
http://jeffbarone.com/about.html


jeffbarone.com ...


Colaborador / Contributor:  Mich58

Charlie Hunter • We Two Kings

 

Preachin' the Bluesː The Life and Times of Son House

In June of 1964, three young, white blues fans set out from New York City in a Volkswagen, heading for the Mississippi Delta in search of a musical legend. So begins Preachin' the Blues, the biography of American blues signer and guitarist Eddie James "Son" House, Jr. (1902 - 1988). House pioneered an innovative style, incorporating strong repetitive rhythms with elements of southern gospel and spiritual vocals. A seminal figure in the history of the Delta blues, he was an important, direct influence on such figures as Muddy Waters and Robert Johnson.

The landscape of Son House's life and the vicissitudes he endured make for an absorbing narrative, threaded through with a tension between House's religious beliefs and his spells of commitment to a lifestyle that implicitly rejected it. Drinking, womanizing, and singing the blues caused this tension that is palpable in his music, and becomes explicit in one of his finest performances, "Preachin' the Blues." Large parts of House's life are obscure, not least because his own accounts of them were inconsistent. Author Daniel Beaumont offers a chronology/topography of House's youth, taking into account evidence that conflicts sharply with the well-worn fable, and he illuminates the obscurity of House's two decades in Rochester, NY between his departure from Mississippi in the 1940s and his "rediscovery" by members of the Folk Revival Movement in 1964. Beaumont gives a detailed and perceptive account of House's primary musical legacy: his recordings for Paramount in 1930 and for the Library of Congress in 1941-42. In the course of his research Beaumont has unearthed not only connections among the many scattered facts and fictions but new information about a rumoured murder in Mississippi, and a charge of manslaughter on Long Island - incidents which bring tragic light upon House's lifelong struggles and self-imposed disappearance, and give trenchant meaning to the moving music of this early blues legend.

Jazz Styles: Pearson New International Edition

 

 

For undergraduate courses in Jazz History, Jazz Survey, Evolution of Jazz, Introduction to Jazz, and Jazz Appreciation.

 

America's most widely used introduction to jazz text captures the minds of students by teaching the history of the styles and how to actively listen to jazz. While its chronological format serves as a great resource for beginners, Jazz Styles is applicable to more advanced students because of its in-depth analysis of musical elements and its technical appendices that discuss music theory concepts.
 
This new edition incorporates a rich array of online features--including a full interactive eText, streaming audio, and historic performance video-through MyMusicLab. MyMusicLab was developed to help engage students in course material and assess their understanding of the material. With powerful online learning tools integrated into the book, the online and textbook experience is more seamless than ever before. MyMusicLab provides wonderful interactive resources that the instructor can bring directly into the classroom.  

 

Analog Days: The Invention and Impact of the Moog Synthesizer

 

Though ubiquitous today, available as a single microchip and found in any electronic device requiring sound, the synthesizer when it first appeared was truly revolutionary. Something radically new--an extraordinary rarity in musical culture--it was an instrument that used a genuinely new source of sound: electronics. How this came to be--how an engineering student at Cornell and an avant-garde musician working out of a storefront in California set this revolution in motion--is the story told for the first time in Analog Days, a book that explores the invention of the synthesizer and its impact on popular culture.

The authors take us back to the heady days of the 1960s and early 1970s, when the technology was analog, the synthesizer was an experimental instrument, and synthesizer concerts could and did turn into happenings. Interviews with the pioneers who determined what the synthesizer would be and how it would be used--from inventors Robert Moog and Don Buchla to musicians like Brian Eno, Pete Townshend, and Keith Emerson--recapture their visions of the future of electronic music and a new world of sound.

Tracing the development of the Moog synthesizer from its initial conception to its ascension to stardom in Switched-On Bach, from its contribution to the San Francisco psychedelic sound, to its wholesale adoption by the worlds of film and advertising, Analog Days conveys the excitement, uncertainties, and unexpected consequences of a new technology that would provide the soundtrack for a critical chapter of our cultural history.

 

  Trevor Pinch (Autor), Frank Trocco (Autor)

 

German Pop Music A Companion

 

The development of German pop music represents a fascinating cultural mirror to the history of post-war Germany, reflecting sociological changes and political developments. While film studies is an already established discipline, German pop music is currently emerging as a new and exciting field of academic study.This pioneering companion is the first volume to provide a comprehensive overview of the subject, charting the development of German pop music from the post-war period 'Schlager' to the present 'Diskursrock'. Written by acknowledged experts from Germany, the UK and the US, the various chapters provide overviews of pertinent genres as well as focusing on major bands such as CAN, Kraftwerk or Rammstein. While these acts have shaped the international profile of German pop music, the volume also undertakes in-depth examinations of the specific German contributions to genres such as punk, industrial, rap and techno.The survey is concluded by an interview with the leading German pop theorist Diedrich Diederichsen. The volume constitutes an indispensible companion for any student, teacher and scholar in the area of German studies interested in contemporary popular culture.

Review
Indeed, German Pop Music: A Companion is aimed at (primarily anglophone) students and scholars in German Studies, providing a non-music-specialist introduction to the field of Popular Music Studies while also mapping the territory where popular music and German history intersect. [...] While each chapter can be read fruitfully as a stand-alone essay, there is also a narrative thread discernible throughout the book, with each chapter picking up where the previous one left off. [...] German Pop Music provides an informative, accessible, and much-needed anglophone introduction to the field of German Popular Music Studies.
Luis-Manuel Garcia in: Modern Language Review, Vol. 113 (2018), Part 2, 449-451
About the Author
Uwe Schütte, Aston University, Birmingham, UK. 

 

Uwe Schütte (Editor)  

Mute Records: Artists, Business, History

 

Mute Records is one of the most influential, commercially successful, and long-lasting of the British independent record labels formed in the wake of the late-1970’s punk explosion. Yet, in comparison with contemporaries such as Rough Trade or Stiff, its legacy remains under-explored. This edited collection addresses Mute’s wide-ranging impact. Drawing from disciplines such as popular music studies, musicology, and fan studies, it takes a distinctive, artist-led approach, outlining the history of the label by focusing each chapter on one of its acts. The book covers key moments in the company's evolution, from the first releases by The Normal and Fad Gadget to recent work by Arca and Dirty Electronics. It shines new light on the most successful Mute artists, including Depeche Mode, Nick Cave, Erasure, Moby, and Goldfrapp, while also exploring the label's avant-garde innovators, such as Throbbing Gristle, Mark Stewart, Labaich, Ut, and Swans. Mute Records examines the business and aesthetics of independence through the lens of the label's artists. 

 

La historia del Heavy Metal

 

Esta es la historia de una red mundial de rabiosos fans que escapan de la vulgaridad cotidiana a través de la música, de estrellas épicas que viven en planetas lejanos con dioses de otras épocas, de villanos corporativos que rompen el corazón de esos fans y estafan a las leyendas musicales para llenarse los bolsillos. El Olimpo del heavy metal incluye yonquis, satanistas y asesinos, cristianos renacidos y abstemios, trotamundos millonarios que encadenan conciertos multitudinarios durante toda su vida y jornaleros que se dejan la piel en salas donde se escucha hasta la cisterna del baño. Con un saber enciclopédico y una pasión inquebrantable, el humorista y erudito del metal Andrew O’Neill repasa la gran historia (jamás contada o muchas veces malinterpretada) del heavy metal. Son historias de exceso sobre nombres cruciales, de Ozzy Osbourne a Metallica pasando por Lemmy, y escenas milagrosas, desde la nueva ola del heavy metal británico hasta la escena underground del black metal noruego. Si estás asintiendo con la cabeza, o directamente haciendo headbanging en la librería, este es tu libro. Si estás diciendo que no, también deberías leerlo para entender por fin esta música, este modo de ver el mundo.

 

Andrew O'Neill (Autor) 

 

Encyclopedia of Heavy Metal Music

 

 

It has been reviled, dismissed, attacked, and occasionally been the subject of Congressional hearings, but still, the genre of music known as heavy metal maintains not only its market share in the recording and downloading industry, but also as a cultural force that has united millions of young and old fans across the globe. Characterized by blaring distorted guitars, drum solos, and dramatic vibrato, the heavy metal movement headbanged its way to the popular culture landscape with bands like Led Zeppelin and Black Sabbath the 1970s. Motley Crue and Metallica made metal a music phenomenon in the 1980s. Heavy metal continues to evolve today with bands like Mastodon and Lamb of God.

Providing an extensive overview of the music, fashion, films, and philosophies behind the movement, this inclusive encyclopedia chronicles the history and development of heavy metal, including sub-movements such as death metal, speed metal, grindcore, and hair metal.

Essential and highly entertaining reading for high school and undergraduate courses in popular music studies, communications, media studies, and cultural studies, the Encyclopedia of Heavy Metal Music and Culture offers a guide to the ultimate underground music, exploring its rich cultural diversity, resilience, and adaptability. Entries for musicians include a discography for those wanting to start or develop their music collections.

William Phillips, Brian Cogan Ph.D. (Authors) 

 

Mendelssohn: A Life in Music

 

An extraordinary prodigy of Mozartean abilities, Felix Mendelssohn Bartholdy was a distinguished composer and conductor, a legendary pianist and organist, and an accomplished painter and classicist. Lionized in his lifetime, he is best remembered today for several staples of the concert hall and for such popular music as "The Wedding March" and "Hark, the Herald Angels Sing."
Now, in the first major Mendelssohn biography to appear in decades, R. Larry Todd offers a remarkably fresh account of this musical giant, based upon painstaking research in autograph manuscripts, correspondence, diaries, and paintings. Rejecting the view of the composer as a craftsman of felicitous but sentimental, saccharine works (termed by one critic "moonlight with sugar water"), Todd reexamines the composer's entire oeuvre, including many unpublished and little known works. Here are engaging analyses of Mendelssohn's distinctive masterpieces--the zestful Octet, puckish Midsummer Night's Dream, haunting Hebrides Overtures, and elegiac Violin Concerto in E minor. Todd describes how the composer excelled in understatement and nuance, in subtle, coloristic orchestrations that lent his scores an undeniable freshness and vividness. He also explores Mendelssohn's changing awareness of his religious heritage, Wagner's virulent anti-Semitic attack on Mendelssohn's music, the
composer's complex relationship with his sister Fanny Hensel, herself a child prodigy and prolific composer, his avocation as a painter and draughtsman, and his remarkable, polylingual correspondence with the cultural elite of his time.
Mendelssohn: A Life offers a masterful blend of biography and musical analysis. Readers will discover many new facets of the familiar but misunderstood composer and gain new perspectives on one of the most formidable musical geniuses of all time.

 

Bob Marley and the Wailers: The Ultimate Illustrated History

 

Illustrated with photos and memorabilia from all phases of their journey, Bob Marley and the Wailers illuminates the lives and times of the man and his collaborators. Indeed, the Wailers are one of the most famous bands of all time, period. Their evolution from early-60s Jamaican ska act to international superstars was not just improbable, but unprecedented for an act from a third-world nation.

The entire, incredible journey of Marley and the Wailers is covered in this visual history. You will see the crucial role they played in establishing reggae as a globally popular form of music, and the influence that the Rastafari movement had on their lives and sound. Plus, how Marley's socially conscious lyrics and actions made him a universal symbol of pride and justice. This tribute takes you through the entire story, right up to Marley's untimely death in 1981, and his enduring legacy beyond.

 

Richie Unterberger (Autor)  

 

Squeeze This! A Cultural History of the Accordion in America

 

No other instrument has witnessed such a dramatic rise to popularity--and precipitous decline--as the accordion. Squeeze This! is the first history of the piano accordion and the first book-length study of the accordion as a uniquely American musical and cultural phenomenon.

 

Ethnomusicologist and accordion enthusiast Marion Jacobson traces the changing idea of the accordion in the United States and its cultural significance over the course of the twentieth century. From the introduction of elaborately decorated European models imported onto the American vaudeville stage and the instrument's celebration by ethnic musical communities and mainstream audiences alike, to the accordion-infused pop parodies by "Weird Al" Yankovic, Jacobson considers the accordion's contradictory status as both an "outsider" instrument and as a major force in popular music in the twentieth century.

 

Drawing on interviews and archival investigations with instrument builders and retailers, artists and audiences, professionals and amateurs, Squeeze This! explores the piano accordion's role as an instrument of community identity and its varied musical and cultural environments. Jacobson concentrates on six key moments of transition: the Americanization of the piano accordion, originally produced and marketed by sales-savvy Italian immigrants; the transformation of the accordion in the 1920s from an exotic, expensive vaudeville instrument to a mass-marketable product; the emergence of the accordion craze in the 1930s and 1940s, when a highly organized "accordion industrial complex" cultivated a white, middle-class market; the peak of its popularity in the 1950s, exemplified by Lawrence Welk and Dick Contino; the instrument's marginalization in the 1960s and a brief, ill-fated effort to promote the accordion to teen rock 'n' roll musicians; and the revival beginning in the 1980s of the accordion as a "world music instrument" and a key component for cabaret and burlesque revivals and pop groups such as alternative experimenters They Might Be Giants and polka rockers Brave Combo.

 

Loaded with dozens of images of gorgeous instruments and enthusiastic performers and fans, Squeeze This! A Cultural History of the Accordion in America represents the accordion in a wide range of popular and traditional musical styles, revealing the richness and diversity of accordion culture in America.

 

 

Marion Jacobson (Autor)  

 

 

Musical Theatre A History

 

This is a comprehensive history of stage musicals from the 1840s all the way up to Andrew Lloyd Webber and Broadway as it we know it today. Wide-ranging in content, it covers Europe, the UK, and North American traditions and developments.

 

Disco Days: A Social History of the 1970's

 

Richard T. Stanley (Autor)

Androids in the Enlightenment: Mechanics, Artisans, and Cultures of the Self

 

The eighteenth century saw the creation of a number of remarkable mechanical androids: at least ten prominent automata were built between 1735 and 1810 by clockmakers, court mechanics, and other artisans from France, Switzerland, Austria, and the German lands. Designed to perform sophisticated activities such as writing, drawing, or music making, these “Enlightenment automata” have attracted continuous critical attention from the time they were made to the present, often as harbingers of the modern industrial age, an era during which human bodies and souls supposedly became mechanized.

In Androids in the Enlightenment, Adelheid Voskuhl investigates two such automata—both depicting piano-playing women. These automata not only play music, but also move their heads, eyes, and torsos to mimic a sentimental body technique of the eighteenth century: musicians were expected to generate sentiments in themselves while playing, then communicate them to the audience through bodily motions. Voskuhl argues, contrary to much of the subsequent scholarly conversation, that these automata were unique masterpieces that illustrated the sentimental culture of a civil society rather than expressions of anxiety about the mechanization of humans by industrial technology. She demonstrates that only in a later age of industrial factory production did mechanical androids instill the fear that modern selves and societies had become indistinguishable from machines. 

 

Medieval music and the art of memory

 

This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory.

Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the last century who approached medieval music as if it were no different from music of the nineteenth century. But Medieval Music and the Art of Memory deftly demonstrates that the fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. Busse Berger's new model, one that emphasizes the interplay of literate and oral composition and transmission, deepens and enriches current understandings of medieval music and opens the field for fresh interpretations.

 

Music Legends Pink Floyd Reflections and Echoes-The Definitive History

 

 

 

 

Frank Wess • Flute Of The Loom

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

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Frank Wess es un Maestro de Jazz de NEA Frank Wess (nacido el 4 de enero de 1922 en Kansas City) es un músico de jazz americano, que ha tocado el saxofón (tanto alto como tenor) y la flauta.

Empezó con la música clásica y tocó en Oklahoma. Más tarde se pasó al jazz al mudarse a Washington D.C. y a los diecinueve años ya trabajaba en las Big Bands. Su carrera se interrumpiría durante la Segunda Guerra Mundial, aunque tocó con una banda militar en ese período. Al volver del servicio se unió a la orquesta de Billy Eckstine.

Volvió a DC unos años después y se licenció en flauta en la Escuela de Música Moderna de la ciudad. Desde 1953 se unió a la banda de Count Basie, tocando flauta y saxo tenor. Volvió al saxo alto a finales de los 50, y dejó la banda de Basie en 1964. De 1959 a 1964 ganó la encuesta de críticos de Down Beat para la flauta. Desde entonces ha hecho una variedad de programas de televisión y teletones. Fue miembro de la big band de Clark Terry desde 1967 hasta los años 70 y tocó en el New York Quartet (con Roland Hanna). En los años 80 y 90, trabajó con Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola y fue miembro destacado de la Toshiko Akiyoshi Jazz Orchestra.

En 2007 Wess fue nombrado un Maestro de Jazz de la NEA por la Fundación Nacional de las Artes de EE.UU.

McKinney's Cotton Pickers • 1928-30

 

VA • The Excello Story

Lazy Lester, Lightnin' Slim, Lonesome Sundown, Silas Hogan, Slim Harpo, Tabby Thomas ...

Patrick Cornelius • This Should Be Fun

 

This Should Be Fun occupies middle ground between the various modes of experimentation that infuse present-day jazz, and a fealty to traditional practices. Alto saxophonist Patrick Cornelius and an exceptional band of peers haven't completely abandoned twentieth century jazz orthodoxy, yet their work doesn't flaunt or reference specific, easily recognizable influences. If you're looking for song quotes in the midst of solos, wish to explore the relation of Cornelius' compositions to those by canonized composers, or need to match the improvisational styles of individual band members with those of heroes on your favorite jazz records, this may not be the place to land. On the other hand, there's an abundance of good things happening on several levels, more than a few moments of individual and collective brilliance, and every one of the ten tracks delivers an interesting, emotionally resonant tale.

Each of Cornelius' compositions possesses a distinct personality that invites close scrutiny. It is clear that he has put a lot of consideration into the structures and melodies. By and large, the compositions are not in any hurry to reach a destination or to unleash the soloists. The majority of them unfold carefully and patiently, often including catchy figures for John Escreet's piano which precede or overlap a melodic line played by Cornelius' alto alone or in tandem with trombonist Nick Vayenas. (Vayenas contributes "Dissolution," which is very much akin to the rest of the record.) The tenor of Cornelius' songs ranges across the friendly, affable feel of "Leaving Paradise," the swampy, New Orleans vibe of the title track, the bracing optimism of "Restless Willow," and the serious, solemn tone of "Precious Souls" and "For Morgan."

Cornelius, Vayenas and Escreet, the record's primary soloists, are all capable of taking their sweet time to ease into an improvisation, or of conveying a sense of exigency from beginning to end. "Big Pictures" and "Leaving Paradise" are good examples of Cornelius' ability to combine a tart, edgy tone with smart organization in the structuring of his lines. In short, he sounds wired and thoughtful, organized but not contrived. A funk-fused turn on "This Should Be Fun" includes a stutter-step entry, short, carefully positioned cries, and pits a terse, high note phrase against a reply that sounds a lot like a duck call. "Dissolution" is one of the tracks in which his tone softens somewhat, silences are utilized, and he instantly picks up on one of bassist Ben Allison's coiled bass lines. Vayenas often projects a fat, buttery tone that sometimes yields to the uniting of short, scrappy, rough-hewed phrases. During "One Shy Of A Dozen," he pushes and pulls against the rhythm section's steady pulse, barks, growls and spits out terse ideas, and eventually boils over with bent, twisted shrieks. Escreet often stretches the fabric of the music and then rapidly falls back into place as if nothing out of the ordinary has occurred. At the onset of a solo in "Big Pictures," he resembles an antic musical wind-up toy. A turn on "Like Kenny" begins in something like a dream state, and then becomes more direct and pronounced. Escreet also has the track's last word, executing manically busy, run-on figures in the piano's upper register.

Allison and Mark Ferber make an exemplary bass and drums team for sounds that favor substance over easily-defined style. They put a brisk, efficient spin on everything Cornelius throws at them, concocting grooves without a hint of clutter or excess. Allison and Ferber constitute an essential part of animating compositions filled with hooks, guideposts, and smart designs. This Should Be Fun is a persuasive, memorable recording.
https://www.allaboutjazz.com/this-should-be-fun-patrick-cornelius-posi-tone-records-review-by-david-a-orthmann.php

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This Should Be Fun ocupa un lugar intermedio entre los diversos modos de experimentación que infunden el jazz actual, y una fidelidad a las prácticas tradicionales. El saxofonista alto Patrick Cornelius y un excepcional grupo de colegas no han abandonado completamente la ortodoxia del jazz del siglo XX, pero su trabajo no hace alarde o hace referencia a influencias específicas y fácilmente reconocibles. Si está buscando citas de canciones en medio de los solos, desea explorar la relación de las composiciones de Cornelius con las de los compositores canonizados, o necesita hacer coincidir los estilos de improvisación de los miembros individuales de la banda con los de los héroes de sus discos de jazz favoritos, puede que éste no sea el lugar para aterrizar. Por otra parte, hay una abundancia de cosas buenas que suceden en varios niveles, más que unos pocos momentos de brillantez individual y colectiva, y cada uno de los diez temas ofrece una historia interesante y emocionalmente resonante.

Cada una de las composiciones de Cornelius posee una personalidad distinta que invita a un examen minucioso. Está claro que ha puesto mucha consideración en las estructuras y melodías. En general, las composiciones no tienen prisa por llegar a un destino o por dar rienda suelta a los solistas. La mayoría de ellas se desarrollan con cuidado y paciencia, a menudo incluyendo pegadizas figuras para el piano de John Escreet que preceden o se superponen a una línea melódica tocada por el contralto de Cornelius solo o en tándem con el trombonista Nick Vayenas. (Vayenas contribuye con "Disolución", que es muy similar al resto del disco). El tenor de las canciones de Cornelius se extiende a través de la sensación amistosa y afable de "Leaving Paradise", la pantanosa vibración de Nueva Orleans de la canción principal, el optimismo vigorizante de "Restless Willow", y el tono serio y solemne de "Precious Souls" y "For Morgan".

Cornelius, Vayenas y Escreet, los principales solistas del disco, son capaces de tomarse su tiempo para improvisar, o de transmitir un sentido de exigencia de principio a fin. "Big Pictures" y "Leaving Paradise" son buenos ejemplos de la habilidad de Cornelius para combinar un tono ácido y nervioso con una organización inteligente en la estructuración de sus líneas. En resumen, suena conectado y reflexivo, organizado pero no forzado. Un giro funk en "Esto debería ser divertido" incluye una entrada tartamudeante, gritos cortos y cuidadosamente posicionados, y enfrenta una frase de nota alta y concisa contra una respuesta que suena muy parecida a la llamada del pato. "Disolución" es una de las pistas en las que su tono se suaviza un poco, se utilizan los silencios, e instantáneamente capta una de las líneas de bajo en espiral del bajista Ben Allison. Vayenas a menudo proyecta un tono gordo y mantecoso que a veces cede a la unión de frases cortas, rudimentarias y toscas. Durante "One Shy Of A Dozen", empuja y tira contra el pulso constante de la sección rítmica, ladra, gruñe y escupe ideas concisas, y finalmente se desborda con chillidos torcidos y doblados. Escreet a menudo estira el tejido de la música y luego rápidamente vuelve a su lugar como si nada fuera de lo normal hubiera ocurrido. Al comienzo de un solo en "Big Pictures", se parece a un juguete musical de cuerda. Un giro en "Like Kenny" comienza en algo como un estado de sueño, y luego se vuelve más directo y pronunciado. Escreet también tiene la última palabra del tema, ejecutando figuras maniáticamente ocupadas y atropelladas en el registro superior del piano.

Allison y Mark Ferber forman un equipo ejemplar de bajo y batería para los sonidos que favorecen la sustancia sobre el estilo fácilmente definido. Dan un giro rápido y eficiente a todo lo que Cornelius les lanza, creando surcos sin una pizca de desorden o exceso. Allison y Ferber constituyen una parte esencial de las composiciones animadas llenas de ganchos, guías y diseños inteligentes. This Should Be Fun es una grabación persuasiva y memorable.
https://www.allaboutjazz.com/this-should-be-fun-patrick-cornelius-posi-tone-records-review-by-david-a-orthmann.php

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